Here at GHM we make a big deal about film shoots. One reason is they truly are one of the most exciting projects we participate in. Hair, make-up, lights, people flying in from all over the world, takes and re-takes, musicians, cameras, sound boards, sets, props and a few miracles. (We start the next one in less than two weeks.)

Another reason we make such an ado about them is because we really need a lot of help to pull it off. The list of things we need – money, equipment, materials and people – for a video shoot is overwhelming. We have to make sure we get the word out to everyone involved in any way in the ministry, because it really takes all hands on deck, as well as all the miracles we can get.

If you’re one of the many people who participate in our film shoots, then you may be wondering what happens when we turn off the cameras, break down the set, and store everything away for the next shoot. (Did we mention set-up for the next shoot begins on June 25th?) Let’s follow the filming of Shukar Aytaman (I Am Thankful), our Uzbek Women’s Program, into the post-production phase.

Some of the best moments on the set end up on the cutting room floor!

The Voluminous Results of Filming

A couple of months ago we introduced you to our cameraman/editor/ musician Garry Brunson and soon you’ll meet our director Jim McGuire. While both were very important on the set, they become even more important as uncountable hours of video and audio become 13 tightly-woven 30-minute programs.

While all the recording happens during a one week period, the result is a whole lot of audio and video recordings. There are three main cameras, with dollies, being manually operated by cameramen which record both video and audio tracks throughout each take, but that’s just the beginning. We also have cameras running from stationary positions, just in case. Our talent wears lavaliere mics on their persons that feed directly into the cameras and we have additional boom mic to catch sounds from throughout the set to help make sure we get every last word.

In our world, there is no going back to the studio. The studio is a conference room and everyone involved in the shoot has gone back to their regular lives. What we get during that strategic week of filming is all we’ll ever have.

Turning Raw Video Into Programs Ready to Air

The first thing Garry Brunson has to do is make sure that everything we shot is securely saved in the appropriate places. The investment of time, money, and energy must be properly archived for our use.

Then he’s got to take a look and listen to what he’s got. This alone entails weeks of work. As Garry watches all the takes he begins to see what he wants the finished product to be. He takes note of particularly good shots so he can find them again in the mountain of material he has available.

Imagine the kind of jigsaw puzzle he is working! For every moment of the filming, there were multiple feeds of audio and video and his job is to pull the best of the best. In a short conversation between the co-hosts, Garry has to seamlessly weave together a natural looking and sounding exchange from takes off a variety of sources. The worst part is that in spite of the many takes he might have to choose from, sometimes there’s just not a good one, but you’d never know it when he’s through.

Once Garry pulls together a rough draft of an episode, he begins to work closely with both Jim, the director, and Umida, the host of the program who is also our on-staff linguist. The three of them work together to come up with a version that they are ready to show to our Producer, Steve Sharp. Have they captured the vision Steve had for the programs as he and Umida discussed them before the shoot? While they are usually close, Steve guides them to fine tune everything into the perfect program.

It’s taken several paragraphs to explain this process, but it does not begin to touch on all the details required. Each step is a tedious technical operation applied with true artistic skill. Garry goes through months of editing to produce the programs which are aired and the rest of the post-production team is with him every step of the way. The Shukar Aytaman programs filmed in March will go to our satellite partners in the fall and by then, Garry will also be in post-production on Sweet Conversations. (We did mention that we needed you for that shoot didn’t we?)

Fulfilling the Great Commission in this generation.

Join Your Heart to Ours

By partnering with Global Heart Ministries during our film shoots you are helping to fulfill The Great Commission in this generation. Together we can bring the light and the truth of Jesus Christ right into the living rooms of every deceived child, every oppressed woman, and every hurting home. This is our message. This is our call.

We invite you to join this vision as a volunteer, a prayer warrior, or a financial donor. Contact us today by phone or email. Let us know how you’d like to partner with us as we reach out to the Most Unreached regions of the world.